is much such a poem as Cowper might have written had he been an Italian. Just as Thomson in his Seasons depicts the entire course of Nature from four points of view, so Parini in his Giorno delineates the useless life of a frivolous young Italian of quality by exhibiting the occupations of his morning, afternoon, evening, and night. The spirit is that of Pope's satires, but Parini, composing in blank verse, has been led into a style more nearly resembling that of Young, although he has little of the sententious abruptness of the Night Thoughts or of their fatiguing glitter: the four poems are perfect wholes, gliding from theme to theme by the most ingenious and delicate transitions, and replete with charming episodes; the diction is exquisite, and the blank verse the best that Italy had then seen. The work is invaluable as a picture of manners, and a masterpiece of delicate polished satire; the jeunesse dorée of Milan is or ought to be made thoroughly ashamed of the vapidity of its existence, but every phrase is urbane, and all the ridicule dainty and ironical. The subject is hardly susceptible of high poetry, but Parini has adorned it as only a poet could. The composition of the remaining three parts occupied him for many years, and the last two are not quite complete. His minor pieces reveal the same remarkable power as the Giorno of elevating trifling circumstances into the region of poetry. One sonnet especially is worthy of the Greek Anthology in finish and charm of invention:
"Benignant Sleep, that on soft pinion sped
Dost wing through darkling night thy noiseless way,
And fleeting multitudes of dreams display
To weariness reposed on quiet bed:
